San Francisco, early September, 2013. I awake before dawn to the sound of the garbage truck lurching and braking a staccato samba up my steep street. The clearest confirmation of returning from the land of Leave No Trace is being roused by a heaving, clattering garbage truck, dragging my recyclables of melancholy to the curb. Inside the bin lies the low, slow ache of having to wait another forty-nine trash pick-ups to reconstitute that other awakening experience from which I’ve recently returned. It’s never perfect out there, to be fair; each year it gets harder to inhale the dun-colored dust, to tolerate the all-night electronica at twentysomething volumes, to flaunt the corsetry of a coy matron. But it is more perfect than many places on earth, perhaps because it exists in suspended time. The days flow longer and shorter out there, so crammed with dazzle and depth that the sacrifice of sleep feels noble and necessary, and being awakened presents an opportunity to discover new wonders. Adrenaline and cooler-chilled cans of coffee fuel marathon days and nights, punctuated by protein bars and ambrosial encounters with soft-scrambled eggs and maple bacon ice cream. Despite its hardships, it is still the place that rouses my psyche year-round, the week that slowly brakes and lurches up the calendar until it mysteriously crests and suddenly barrels down the hill with unstoppable momentum. Which happened a few weeks ago. Now I am making the jerking, awkward journey up the hill once more.

Black Rock City has a curious relationship with time. It is unsurprising that navigation in Black Rock City is marked by the face of a clock; in a place where time is so fluid and compressed, the rhythmic cycle of twelve hours is appropriated for other uses. A man base that takes four months and four days to build is dispatched in less than an hour. A relationship that has taken five years to coalesce is witnessed and sanctified in a brief ceremony. An art installation that has been imagined for a decade is auditioned, funded and accomplished in eight months, and evaporated in a flamethrowing fifteen minutes. We wait all year for our seven days in the desert, our touchstone of timelessness. We are willing to abandon most commitments and comforts to spend evanescent hours with dear soulmates, remarkable art, transcendent music, even our imperfect selves.

We want time to speed up so that Burning Man will come again, but once we are in the desert, we want time to slow down to appreciate every moment. Marvell tells his coy mistress, “Though we cannot make our sun/Stand still, yet we will make him run.” Once there, we don’t want the Man to Burn because that means we have to begin counting the days until the Man Burns again.

Once there, we wait at the gate, in line for gifted chai, on the queue for our turn on the teeter-totter of death. But we wait in Black Rock City with an enthusiasm that should be bottled and gifted to every parent of a tired toddler at the grocery store, every arid airport bar, every applicant at the Department of Motor, not Mutant, Vehicles. In our temporary city, time passes with speed and delight because we handle the experience of waiting as an opportunity. We engage with our tutu-bearing comrades, we appreciate our surroundings, we challenge ourselves to celebrate the principle of immediacy. Time becomes an opportunity rather than a penance or a means.

Coyote, artist Brian Tedrick

Being generous with the time span of the early years, the actual Burning Man event has occurred for around 150 chronological days. “Had we but world enough, and time,” Andrew Marvell pleads with his love interest, we would be able to be patient for the thing we desire, but our life span does not afford us that luxury. For all of the miscommunications and buzzing generators, the funky smells and rebel yells, Black Rock City is our coy mistress, flirting with the moment. Had we but world enough and time…we could actually make it to all of the things we circled in the What/Where/When. We could encounter every single piece of art in deep playa. We could catch the early early show at the Bijou. We could learn to make kombucha, join a drum circle, and volunteer with the Lamplighters.

We dally with this inamorata for seven, or five, or three days, and impossibly try to cram in a year’s worth of imaginary encounters into that time. We ride from the three to six to nine o’clock plaza on our wheeled chariots, but we never manage to make our sun stand still. It beats down too hard and sets too swiftly, and hurtles us back into the rest of our lives with an abrupt and noisy awakening.

So we must bring the light of that sun back to break through the fog of everyday life. The desert has taught us how to radically include, express, and rely. Now is the time to apply the alchemy we have tested in our desert crucible. Now is the time to treat Starbucks like Center Camp Café, to acknowledge our fellow caffeinators with enthusiasm. Now is the time to rediscover the local newspaper as our resource for a workshop. Now is the time to become a Greeter at the bus stop, the hardware store, the office lunchroom. We cannot wait another year for this ravishing mistress to enrapture us with a mere seven nights of her delights; we must incorporate what we love about her into our lives, to adopt her characteristics, to make her run and not stand still. We must ride time’s winged bicycle, or its garbage truck, into every rising of the sun, so that our awakening in the desert does not make this year a vast eternity.

Jennifer Raiser is an avid long-time Burner, Burning Man Project board member, theme camp leader, and Black Rock Ranger. Her writing has appeared in the Huffington Post, San Francisco Chronicle, Nob Hill Gazette and most often for her publication, SFWire.

Even though my mind understands there’s been a 50 week interval, once I get to the playa, I get an unexplainable and pleasant mental perception that I have never left.
I also get on playa dreams all year round, they’re always pleasant and positive, and I wake up mentally refreshed.